Abstract
The purpose of this research is to investigate the professional training needs of theater educators, as they arise based on their views, who work in primary education. The fact that triggered the inception of this research was that studies concerning aesthetic education in Greece refer to all specialties (musicians, visual artists, theater educators). In some cases, research addressed in training needs that music educators or visual artist have, but not for training needs theater educators have. Consequently, the educational needs of the above specialties may converge in some areas, but, depending on the specialty, they differ in others. Additionally, until 2019, the Greek ministry of education considered the in job-training of theater educators a minor issue. For those reasons, emerged the importance of a research for the specialty of theater educators. In this context, therefore, a qualitative research was designed and conducted using a sample of thirteen theater educators, who work in primary schools in the prefecture of Heraklion, Crete. Semi-structured interviews were used to collect data and the results were analyzed by topic. The thematic analysis showed that there is an urgent need for training programs in certain areas.
Highlights
Ελειίθσλ (Κφθθνο, 2005, ζ.45), παξάιιεια θαη ηαπηφρξνλα, φκσο, είλαη ζηελά ζπλδεδεκέλα κε ηε γεληθή δεπηεξνβάζκηα εθπαίδεπζε, θαζψο αθελφο ζηνπο απνθνίηνπο ρνξεγείηαη απνιπηήξην Γπκλαζίνπ, αθεηέξνπ ν δηεπζπληήο θαη ην εθπαηδεπηηθφ πξνζσπηθφ είλαη απνζπαζκέλνη εθπαηδεπηηθνί ηεο δεπηεξνβάζκηαο εθπαίδεπζεο
In this paper we attempt to define the work of the headmaster of an adult education institution
Date was collected with focused interviews on a selected sample
Summary
Ο Giddens, ζέινληαο λα απνκαθξπλζεί απφ ηε ζπκβαηηθή ζεψξεζε ηνπ ξφινπ, ε νπνία παξαπέκπεη θαη’ απηφλ ζε κηα δπτζηηθή αληίιεςε, δειψλεη (1984, ζ. 84) φηη, αλ θαη δελ απνξξίπηεη εληειψο ηελ έλλνηα ηνπ ξφινπ, ζεσξεί πην ζεκαληηθέο απηέο ηεο ηαπηόηεηαο (identity), θνηλσληθήο ζέζεο (position) θαη ηεο θνηλσληθήο ηνπνζέηεζεο (positioning). Ε πεξηγξαθή ηνπ ξφινπ ησλ δηεπζπληψλ ΣΓΔ, νξίδεη ηα δηθαηψκαηα θαη ηηο ππνρξεψζεηο- πνπ απηνί έρνπλ σο θάηνρνη απηήο ηεο ζέζεο- ηα νπνία κπνξνχλ νη δηεπζπληέο λα ελεξγνπνηήζνπλ αληιψληαο απφ ηνπο πφξνπο θαη ηνπο θαλφλεο (ην ζεζκηθφ πιαίζην ησλ ΣΓΔ, ηε ρξεκαηνδφηεζε, ηελ πιηθνηερληθή ππνδνκή θ.ιπ.), σο κέζν γηα ηηο θνηλσληθέο ηνπο πξαθηηθέο (ηε δξάζε ηνπο, δειαδή, σο δηεπζπληέο). Ε θνηλσληθή ζέζε ησλ δηεπζπληψλ ΣΓΔ κεηαθέξεη ηελ πξνζδνθία –κέζσ ηεο πεξηγξαθήο ηνπ ξφινπ ηνπο-φηη απηνί, αληιψληαο απφ ηνπο πφξνπο θαη ηνπο θαλφλεο ηνπ ζπζηήκαηνο ησλ ΣΓΔ, ζα αλαπαξάμνπλ κε ηηο θνηλσληθέο ηνπο πξαθηηθέο ηηο δνκηθέο ηδηφηεηεο (ηα βαζηθά ραξαθηεξηζηηθά θαη ηηο αξρέο ησλ ΣΓΔ). Σηε ζπλέρεηα ζα παξνπζηάζνπκε ην κεζνδνινγηθφ πιαίζην ηεο εξγαζίαο καο
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